Claiming the Real: The Documentary Film RevisitedThis work rewrites the history of documentary film to take account of technological change. Winston explores the role of such figures as Grierson, Flaherty and Dziga Vertov, and examines both the principles and practice of the major movements in documentary, such as "cinema verite." |
Contents
Preface | 1 |
PART ONE THE CREATIVE TREATMENT OF ACTUALITY | 3 |
The Documentary Scitex and Harry | 5 |
Copyright | |
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Claiming the Real: The Griersonian Documentary and Its Legitimations Brian Winston No preview available - 1995 |
Common terms and phrases
actuality aesthetic agnicayana American anthropologists Aran artist audience Auricon Basil Wright became become Britain British camera cinéma vérité consent Courbet creative critical culture despite direct cinema docu document documentary film editing effect ethical ethnographic ethnographic film evidence example fact fiction film-makers film's Flaherty Flaherty's footage Frederick Wiseman Graef Grierson Griersonian Griersonian documentary Harry Watt Hogenkamp Humphrey Jennings ibid ideological industry instance intertitles interviews Inuit involved Ivens Jean Rouch Jennings Joris Ivens Leacock less Lorentz MacDougall material Maysles ment mentary Middletown movement movie Nanook narrative never newsreel norms observation organised Paul Rotha photographic political produced public education question radical realist documentary reality record-footage result rhetoric Riefenstahl Rotha scientific screen seen sense sequence shot sort sound sponsor sponsorship story structure suggests Sussex synch techniques television thing tion Titicut Follies tradition truth claims Vertov Wiseman workers